What's so interesting about music from the late '60s and early '70s is the fact that anyone who possessed an aptitude for an instrument had the chance of winding up on any recording.
This is all evidenced by the inclusion of Chris Ethridge on Mighty Joe Hicks' 1973 self titled album.
Ethridge, who's best recalled for his contributions to country tinged outfits like the International Submarine Band as well as the Flying Burrito Brothers, worked out the bass parts for the entirety of Hicks' one album. And while the bassist's inclusion is really just a footnote, Ethridge's performance here points towards the relative success of racially integrated bands during the decade preceding the recording of this disc.
Regardless of the racial composition of the group, Hicks leads the ensemble through a spate of funk, soul and blues. The combination of genres most readily recalls a latter day Albert King, who recorded for Stax Records as well.
Even with that rather high profile comparison, Hicks doesn't revel in consistent top tier work. The tandem of B.B. King's "Rock Me Baby" followed by "Could it Be Love" presents itself as a mid-disc let down. Fortunately, "All In" ratchets up the bluesy guitar soloing as Hicks' voice is granted enough room to let listeners hear why he was afforded a chance to record a full length in the first place.
Despite Mighyt Joe Hicks being the singer's lone long player, Hicks' work has retained a shimmer over the years. "Ruby Dean," which echoes Johnny Cash's "Dont Take Your Guns To Town" while substituting love (read: naughty bits) for a gun, constitutes Hicks' legacy. There're a few other gems buried here - and most importantly, a few relatively obscure breaks.
This is all evidenced by the inclusion of Chris Ethridge on Mighty Joe Hicks' 1973 self titled album.
Ethridge, who's best recalled for his contributions to country tinged outfits like the International Submarine Band as well as the Flying Burrito Brothers, worked out the bass parts for the entirety of Hicks' one album. And while the bassist's inclusion is really just a footnote, Ethridge's performance here points towards the relative success of racially integrated bands during the decade preceding the recording of this disc.
Regardless of the racial composition of the group, Hicks leads the ensemble through a spate of funk, soul and blues. The combination of genres most readily recalls a latter day Albert King, who recorded for Stax Records as well.
Even with that rather high profile comparison, Hicks doesn't revel in consistent top tier work. The tandem of B.B. King's "Rock Me Baby" followed by "Could it Be Love" presents itself as a mid-disc let down. Fortunately, "All In" ratchets up the bluesy guitar soloing as Hicks' voice is granted enough room to let listeners hear why he was afforded a chance to record a full length in the first place.
Despite Mighyt Joe Hicks being the singer's lone long player, Hicks' work has retained a shimmer over the years. "Ruby Dean," which echoes Johnny Cash's "Dont Take Your Guns To Town" while substituting love (read: naughty bits) for a gun, constitutes Hicks' legacy. There're a few other gems buried here - and most importantly, a few relatively obscure breaks.
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~ Dave Cantor
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~ Dave Cantor
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